Matthew Wright

REVIEW: Evita (Palace Theatre, Manchester)

kristobel
© Keith Pattison
© Keith Pattison
Guest REviewer: Karen Clough
Upstaged Rating: ⭐⭐⭐⭐

Evita tells the story of Eva Peron, who grew up in poverty in Argentina and found fame and adoration as an actress. She used her notoriety to highlight the struggles of less fortunate Argentinians, married a powerful military figure and went on to lead beside him as first lady when he was made President.

It’s suggested this role served her own need for love and adoration as much as it served the people’s need for hope and change. The significance of Eva’s appearance and her yearning for affection and validation from the people are themes which re-emerge throughout the show.

Set against the surrounding political unrest in Argentina in the 1940s-50s, many topics, such as sexism, objectification of women, social division and corruption are touched upon, and no doubt hold current relevance for a modern audience. Eva knows too well that her physical appeal can be used as a vehicle, to propel herself into a position of influence, as the face and heart of her country. 

Visually, this is a sophisticated production. The combined efforts of the set design (Matthew Wright), wardrobe team (Caroline Hannam, Caroline Heppell, Katie Bell, Billie Sanger, Hannah Forbes), choreographers (Bill Deamer, Kylie Anne Cruickshanks), orchestra (David Cullen) and lighting design (Tim Oliver, Mark Howett), ensure the audience are treated to a real ‘show’ experience. Under Bob Tomson and Bill Kenwright‘s direction, everyone and everything looks and sounds the part for a high-end stage musical.

As would be expected from a Lloyd -Webber & Rice production, the musical numbers keep on coming – 28 in total. If you struggle to stay with back-to-back singing, bear with it in the first half, it’s quite full-on. Helpfully, narration by Che (Gian Marco Schiaretti) joins things up very nicely. Often Eva’s biggest critic, he mingles smoothly between scenes and invites us to look beneath her polished, altruistic exterior. 

Madalena Alberto is a captivating and expressive Eva Peron, from ambitious teenager to passionate leader through to Eva’s ultimate frailty. Jeremy Secomb is strong as her militarised husband, Juan Peron. Their duet ‘You Must Love Me’ is a touching moment, where Secomb lets the more vulnerable side of the President show through.

‘Rainbow High’ provides a great example of the skilful choreography and visual appeal of the show. Alberto holds the audience in goose-bumped silence during her powerful and glamorous balcony performance of Evita hit, ‘Don’t Cry For Me, Argentina’.

This is a good, well put together and entertaining Evita with convincing performances which do not disappoint. 

-Karen Clough

Evita continues to tour the UK through 2018. Further tour dates can be found here.

REVIEW – Breakfast at Tiffany’s (The Lowry)

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Pixie Lott in Breakfast at Tiffany’s
© Sean Ebsworth Barnes
Upstaged Rating: 

Holly Golightly has aroused much discussion over the years, from the page of Truman Capote’s Novella to the big screen classic portrayal by Audrey Hepburn in the 1960’s. Now, Breakfast at Tiffany’s comes to The Lowry, Salford and we are transported back to Capote’s original 1940’s New York setting.

Pop star Pixie Lott steps into Audrey Hepburn’s ‘Givenchy’ shoes as the charming Holly Golightly. With authentic design by Matthew Wright, Lott certainly looks the part in her fabulous vintage wardrobe and super-sparkly diamonds – however, this is certainly an ambitious role for her first stage show.

Capote’s novella has been adapted for the stage by Olivier Award-winning playwright Richard Greenberg and revolves very much around the on-off romance between Holly and struggling young writer Fred (Matt Barber). Besotted and fascinated by the extroverted and effervescent Holly, Fred tells the story from his perspective and acts as narrator. Matt Barber puts in a brilliant performance, leading the audience through an array of emotions following his infatuation with Holly Golightly.

© Sean Ebsworth Barnes
Under Nikolai Foster’s direction, Robert Calvert puts in a sturdy performance as Golightly’s estranged husband Doc towards the end of Act One which just keeps us ticking over to Act Two. However, many of the other characters feel slightly underdeveloped, giving us little chance to really understand them. The balance on stage does seem a little skewed when a beautiful fluffy white cat (Bob The Cat) steals the stage from the main action.

Ben Cracknell’s vivid lighting design teamed with Matthew Wright’s authentic set and costume design is a real highlight and really gives the live performance a filmic edge.

Now, all the pre-show talk has been about Pixie Lott taking on the iconic role of Holly Golightly – there really is no doubt that she can sing. Strumming her acoustic guitar she performs 3 live songs, most notably ‘Moon River’ and she is soulful, engaging and unique.

This production of Breakfast at Tiffany’s is certainly a gem but is regrettably lacking the clarity and cut of a real Tiffany diamond.

-Kristy Stott

Breakfast at Tiffany’s is at The Lowry until Saturday 16th April 2016 and you can get your tickets here.